(Land) Taken Home
(Land) Sheeffry Pass
(Land) Taken Home To imagine a place as witness imagines events somehow continuing in memory beyond humankind. In our contemporary world, what collusion of forces might beguile our conscience in relation to our steward-ships of both humankind and our environment? How will the geological world witness and house our memory? These drawings combine landscape imagery of the west of Ireland i with the chorus from W.B. Yeats poem, written in 1882, The Stolen Child. Come away, O human child! To the waters and the wild, With a faery, hand in hand, For the worlds more full of weeping than you can understand. The poem is immersed in Yeats interest in Irish mythology and ideas of romanticism. The drawings depict a landscape viewable from the Sheeffry Pass (the Way of the Faeries, in the Irish language), County Mayo, south of County Leitrim and Glencar - the landscape Yeats refers to in his poem. Both regions are the geological backdrop to a human history of colonization of land and souls. The impetus to combine these drawings with the chorus of Yeats poem was the bringing to public knowledge, in 2017, atrocities suffered by Irish children born out of wedlock during the period between the 1920s -60s. Evidence found in a sceptic tank on site of a former Mother and Child Home in Tuam, County Galway, of the buried remains of almost 800 children each under the age of 3. Whatever the cause of their death, either natural or by neglect, none were honored with an acknowledged burial except for one hidden from view. In the poem, the child in lured away, by mythological occult entities to their world, from his world. In recent Ireland, the myth of respectability hid from view the removal of children of unwed-mothers from their biological homes. Indomitable, Immediate and Remote Drawings of the geological formations of the south Mayo and north Galway mountains; including the Partry Mountains, Maumtrasna, Luga Kippen, Gowlan and Buidhe, Knocklaur, the Devilsmother, Ben Gorm and Ben Creggan.
(Land) From the Sheeffry Pass They are a response to the land as a living entity shaping and reshaping itself and us over geological time. This idea is expressed with intelligent imagination by writer and cartographer Tim Robinson in his book The Last Pool of Darkness, where he speaks of these mountains as Pillars of Eternity, at first glance, these majestic features of the landscape, but to the eyes of geology, they are provisional overhasty conclusions soon to be undone by tremendous reconsiderations, while according to fireside tales they are the Devils work.